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The Ghazals of Hafiz and the Canzoniere of Petrarch (1304–1374) have at least three common characteristics: (a) from the qualitative point of view: Each of these two works is at the top of the medieval love poetry: one in the Persian literature, and the other in the European literature; (b) from the chronological point of view: These two books of poetry have been written during the fourteen the century A.D. (8^th  century AH); (c) from the quantitative point of view: The ghazals of Hafiz contain near 4092 distichs or bayts (i. e., 8184 lines or mesra') and the Canzoniere of Petrarch contains 7784 lines. So, they are contemporary, contain a similar number of lines and are at the top of the medieval love poetry. The description of the beloved's eye is one of the principal common places of these two poets: Petrarch mentions the eye 263 times in the Canzoniere and Hafiz 216 times in the Ghazals. Moreover, Hafez writes about the Narcissus-a metaphor of the eye-in 44 distichs. This paper shows, with the comparative-contrast method, the common and different characteristics of the beloved's eye in the Hafiz and Petrarch's poetry.    

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A reminder of memory for all humans is a common feeling, but in art and literature, and especially in the eyes of poets, it has a different appearance. Reminder of memories is one of the important resources for poets and artists in the literary and artistic structure of their works. Hannin, or the love and affection that the poet has in relation to his past, is associated with remembrance of memories and the poet places it on the basis of his poetry. The eloquence of the poet is his first stimulus to remind his memories and Hannin to his homeland, which leads to the formation of an architectural and artistic form of Ghasideh. Sheikh al-Wa'ili wrote the verse " towards Najaf Ashraf; My Beloved Land " after the departure of Najaf Ashraf; the land of his childhood and adolescence. In his Ghasideh, he tells his love and affection to his land and describes it in the most beautiful form. From the depths of the poet's feelings, one can understand the depth of this love and interest in the homeland. On the other hand, Shahriar, the famous Iranian poet, sings “Heidar Baba" in Turkish after the abandonment and divorce from his motherland, in which he recalled the memories of his childhood and adolescence and the regret of the time spent in the village on the slopes of Mountains of Heidar Baba. The present study uses a descriptive-analytical method to study and adapt these two stories through two poets' songs relying on the American Comparative Literature School.  It addresses three levels of timing, spatial and social remembrance, pointing out the similarities and differences in their poetry, as well as the distinctive features of their artistic images used to express their memories and poetic experiences which have been mentioned. From the research results, it can be said that natural elements (nature) have an active role in shaping the structure of poetry memories. And their poetry and musical images have served their thoughts, and these functional aesthetic images have been addressed to the audience and have led to a better understanding of the audience in the process of reading the text.

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The image and description of the image of beloved is one of the most important issues in Persian and folk poetry. Images and testimonies help both draw objectively the beloved body and the attitude of the poet, as well as the general attitude of the society and culture in which the poet lives. The purpose of this research is to examine the images and descriptions of the beloved body in Bakhtiari's folk poems by comparing them to the image of beloved in Persian poetry to answer the following questions: What elements are used to describe the beloved body and what are the adjectives that show the differences and similarities with Persian poetry in this area? The results of the research showed that, in Bakhtiari folk poems, the images look more like typographic characters (sensory, sensory, singular to singular and detailed), and that the names of this type are different. The poets used this type of comparisons in which the signified is much closer to the referent. Bakhtiari's life is based on nomadism, alongside agriculture and, to this end they rely more on the sky and constellation. A greater number of these elements is therefore used to illustrate the climatic color of the images which is very high. Compared to Persian poetry, there are differences and similarities that are more similar in terms of descriptions and differences in the field of imagery.
 

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In this respect, romantic sonnets also have important connotations and show som realities in this period; Therefore, beloved place was investigated using some tools of Critical Discourse Analysis Approach in the sonnet over the last three decades . Thus, two theories were used for this purpose, Michael Hallidaychr('39')s theory to analyze the text the one and Norman Faircloughchr('39')s theory to explain its social dimensions the other. Among the text analysis tools,Ideational Metafunctional was chosen to focus on processes and naming purposes to reveal the attributes and names attributed to the lover, who is one of the main romantic discourse partner in the sonnet over the last three decades. What meaning these namings convey in term of being positive and negative؛ and Also, what processes or actions has been behind the lover؛ The result attempts to show that the poets of this period have used both general and specific names and other names for the beloved, including: special names and allusive and symbolic signs;adjectives substitute noun, Name of the city and geographical area where the beloved resides; metaphorical names emanating from natural elements; Organs to synecdoche; And metaphorical expressions used to describe the beloved physical and mental characteristics. The beloved of these sonnets plays the most important role in the form of relational processes of 43%, material 39% and mental 12%; In these processes, the beloved has appeared in the roles of actor 35%, carrier 20% and known 15%. The beloved participants is positively assessed in 71% of the processes.